A '60s landmark. [31 Oct 2003, p.C6]

Tune in, turn on and drop out with Dennis Hopper and Peter Fonda as two down-and-out motorcyclists in this classic road film about the 1960s counterculture. Joining them on their cross-country trip is a young Jack Nicholson, whose charismatic performance keeps the movie rolling through some of its more experimental moments. [22 Jun 2012, p.C6]

It's an easygoing epic -- and John Wayne, as the one-eyed, booze-swilling bounty hunter who tracks the baddies down, gives a lusty, amusingly overripe performance. [08 Oct 2000, p.49]

There is no question that this film is flawed by the inclusion of the party scene and Ratzo's dream, but I cannot recall a more marvelous pair of acting performances in any one film. Dustin Hoffman deserves the Oscar for a role that is prickly on the outside, but tender on the inside.

Celebrated cinema verite chronicle of a quartet of door-to-door bible salesman, pitching their wares with slick expertise or threadbare urgency. [03 Dec 1999, p.L]

With no live dialogue, Waters relied on his vast knowledge of music to move this feature along. Snatches of Elvis Presley, R&B, Lou Christie, doo-wop and more carry Mondo Trasho through cinematic moments of nude hitchhikers, foot fetishists and the struggle of always striving to be "truly divi-i-i-ne." [30 Sep 1988, p.66]

One of the last and best of the Hammer vampire flicks has Lee doing his umpteenth turn as Transylvania's thirstiest and most sexually active aristocrat. [05 Jul 1985, p.47C]

This is one of the great alternative masterpieces of the American cinema. In many ways, Cassavetes' most important film.

Chic, shallow stuff, but there's one hell of a car chase. [22 Jan 1999, p.F]

Whatever its flaws, Funny Girl is one star vehicle that works perfectly for its subject.

A masterpiece that can still leave you dizzy with wonder. As much as any movie ever made, this visionary science-fiction tale of space travel and first contact with extraterrestrial life is a spellbinding experience.

An improbable masterpiece -- a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other.

One of those lurid, macabre, amusingly exaggerated B-horror movies beloved by the psychotronic/Joe Bob Briggs crowds.

Ferocious action saga about an old samurai (Mifune) taking a stand against his lord's cruelty and injustice. [03 Mar 2006, p.C5]

It's based on a novel by a real chain-gang inmate, but the movie itself often seems slick and arch, like a conformist's yearning tribute to non-conformity. Yet the cast is superb: Paul Newman as the rebellious Luke, George Kennedy as his brutish sidekick, Strother Martin as a jailer ("failure to communicate") and about a dozen supporting actors who became widely familiar faces over the next decade. [16 Jan 2009, p.C6]

Point Blank catches the feel of the late '60s and the sunshot, edgy atmosphere of Los Angeles then (the go-go clubs, the used-car lots, the penthouses and the storm drain tunnels) like few movies since. [07 Feb 1997, p.K]

El Dorado is essentially a darker remake of Rio Bravo, with Wayne, Robert Mitchum, Hunnicutt and James Caan as the now archetypal quartet. But, though the situation is the same, the mood is crisper, tenser, with a heightened sense of pain, loss and death underlying the humor and action.

Both a great concert movie and an amazing documentary of mid-'60s cutting-edge pop culture, this cinema verite record of Bob Dylan's pre-electric, pre-Band 1965 British tour was such a candid and unsparing look at stardom's inner sanctums and Dylan's caustic personality, audiences were shocked. [29 Oct 1999, p.M]

Chimes at Midnight is one of Welles' peak achievements. Its depth of feeling seems very real, very deep indeed.

One of the screen's supreme works and perhaps Ingmar Bergman's finest film, "Persona" is also his most radical in form and technique.

Exciting, beautifully shot '60s political western. [10 Apr 1998, p.M]

One of the quintessential '60s foreign art films, a bizarre melange of pop music, revolution, sex, movie allusions and poetry. It's a masterpiece of sorts by one of the most important European filmmakers of that era. But it's also a movie that can drive you crazy.

1966 French masterpiece -- the finest, most deeply personal work of a filmmaker who has been compared, justifiably, to both Dostoyevsky and Bach.

Michael Caine became a front rank star -- and actor -- when he played the title role in this smart, salty, subtly moving adaptation of Bill Naughton's play about a Cockney Casanova on the loose in Swinging London. [30 Jan 2000, p.41C]

Blends a love of semi-trashy pop entertainment with a love of poetry, art and high moral seriousness. It's a young person's movie (Godard was 34 and Karina 24 in 1964) that retains its mysterious pull even as the film and we get older.

A mad, resplendent peacock of a film, a cinematographic riot of color and sensuality that evokes its era -- the swinging mid-'60s -- as much as any movie made during those giddy years.

The sociopolitical issues are lost in the action, but it's quite some action. [11 Jan 2002, p.C1]

Audrey Hepburn is a physical wonder; Rex Harrison defines his role; and production designer Gene Allen is the hidden star. A big screen production for the entire family.